With Dark Shadows starting out on a fledgling network whose daytime lineup struggled to achieve competitive ratings even in the best of circumstances, one has to wonder what good it does for a show that’s only been on the air a few days to have the director actively sabotaging the entire supporting cast.
Dark Shadows director Lela Swift has had Mark Allen, who plays Sam Evans, in her sights since the third week of taping kicked off. That same week George Mitchell, who played Collins estate caretaker Matthew Morgan, had several mishaps during a scene while eating egg whites that came from a nearby greasy spoon. So the next time he was on, Lela took to complaining about him over the control room microphone and in the process cursing him with such an attack of nerves that he couldn’t perform. He was gone by the end of that day’s taping. Now Lela is gunning for lovable Fred Stewart, who makes his Dark Shadows debut as Dr. Reeves, but if she has her way it will be his swan song as well. Her complaints during the taping of this episode become so mean-spirited that she practically turns into a monster.
There can be only one solution to keep Dark Shadows from imploding even before it can complete its first thirteen-week cycle: Swiftenstein must be destroyed!
Continue reading “Episode 17: Swiftenstein Must Be Destroyed!”
Long before Angelique made her debut on Dark Shadows, the summer of 1966 had its own witchy presence on the show in the first few weeks – in the form of director Lela Swift, who, with just a few spellbinding words spoken through a control room microphone, could make a supporting actor so nervous that he wouldn’t be able to perform his scenes effectively. He might even be forced to leave the show. It seems no one could escape the curse of Lela Swift.
Since the third week of taping, she has been on a verbal rampage leveled at supporting cast members that she can’t stand. In her war of attrition waged through her weapon of choice, the control room microphone, there will be collateral damage, where the innocent are made to be casualties, and in this episode it will be George Mitchell, the originator of the Matthew Morgan role.
Continue reading “Episode 16: The Curse of Lela Swift”
After three weeks on the air, Dark Shadows has created its first monster.
Continue reading “Episode 15: Mechanics Made Easy, Pt. 1”
It’s a Wednesday in 1966, and Burke Devlin has been hanging out in the drawing room at Collinwood since Monday. Fortunately, there’s plenty of brandy on hand to keep him hydrated while he chats with Liz and waits for Roger to show up, who’s been avoiding the drawing room since last Friday, ever since Carolyn brought Burke to Collinwood.
Continue reading “Episode 13: Meeting in the Odd Places”
One of the charms of these early episodes of Dark Shadows is something I call “scene connectors.” Someone will close out a scene with a phrase or word, like when Joe Haskell asks Burke Devlin what he wants in exchange for what Devlin has offered him, and Devlin answers, “Information.” Then they cut away to the next scene, which begins by someone else taking up that key phrase or word but in a completely different context: “But I can’t give you any information,” Maggie Evans tells Roger Collins. “Pop’s a free soul, you know that. He wanders.” Just minutes ago, Roger, who is not such a free soul, wandered into the coffee shop just before closing time under the pretext of seeing if there’s “any coffee left in the hopper.” But what he really wants to know is where Sam Evans is. You’ll recall that in the previous episode Roger exploded when he realized that Burke Devlin is back in town – and what he needs this late hour is to pin down the whereabouts of a local artist who paints seascapes and sunsets. At this point Roger has something the viewer lacks: information.
Continue reading “Episode 3: Information”